[Eliza Fyfe]

@Kat, my December paid event was £3 on the door then an extra £2 for a mince pie and mulled wine. This meant my venue & refreshments costs were covered (school – £25 per hour, 3 hours hire including setting up and packing down) and the profits went to charity.

I didn’t do tickets and had no way of tracking people, so this is what I’m going to do differently for the Easter event – advance tickets, as I have a capacity limit of 150 in this new venue, so 100 tickets for guests, as I don’t charge performers.

@Beckie – yes, great if they come along to support the others if they don’t quite feel ready to perform. Chances are, they are inspired to do it next time! All sounds great with how you do things. Yep I’ll sometimes open/close with a song or duet with a student.

I love that the students get to meet each other and possibly even link up for bands/duets which has happened.

Would love some advice on the regularity of events: 5 last year was pretty full on, so now I’m doing 3 big ones (as I have to for choir anyway, at the end of each term) with students as supporting acts. Then I’m thinking of taking them to open mics in between (adults). I don’t run any as I don’t have the time, but I know a good one that allows you to play backing tracks off the phone/ipod. I am hoping that the students will make friends and go along on their own eventually, without needing me to hold their hands, as I rehearse most nights..!

Thoughts?

[Eliza Fyfe]

So I hold quarterly showcases at a cocktail bar where I have a membership. One for each season/occasion – did 5 last year and they all went down well!

The students took to the idea enthusiastically and they’re sort of used to me pushing them to perform! As long as they’re comfortable of course! Some wouldn’t have done it I hadn’t insisted though – and have been glad they did it as they surprised themselves with how much they enjoyed it!

I made the events private – just for students and their guests. It was always cosy and with an open-mic feel so that people aren’t all seated and staring, which can be intimidating. However, the sense of community lies with the students being among one another, in the same boat, a shared experience where they aren’t the only ones nervous! And with the parents watching too!

I mainly use backing tracks as it gets a bit much hosting, organising people, doing the sound etc AND playing! Although I have accompanied where necessary or had band members which was fun! Or even duetted with the very nervous ones. Or sometimes the student accompanies themselves if they have been learning piano or are a guitarist.

Yes to unexpected issues! A teacher brought a CD of backing tracks assuming I was playing them in a CD player/laptop… but it was all mp3s! All the parents had come to see her students perform and she was suddenly without the tracks… thankfully she found them in her Dropbox and she played them there off her phone! That was a fight or flight moment for sure though…

I also found that having people on hand to help made a MASSIVE help to how smoothly the event ran – I cannot recommend it enough.

So I hosted these events on Sundays 5-8pm, but learnt that 3 hour events (in order to fit in 25 keen performers, both mine and my teachers’ students!) was too long, and people wouldn’t stay for the whole thing. It didn’t always matter – it was kids at the start, an interval where kids would leave, then mainly adults for the second half. But a lot less audience towards the end! So I ran a seated, paid event in December for my students and choir, made it 2 hours long, less acts, 3 helpers (sound and refreshments) and it was the smoothest event I’ve done! So my new plan is 2 events in one day (March, my next one) 2-4pm Matinee and 7-9pm evening show with a similar set up as the December event.

Hope that answers your questions!

[Eliza Fyfe]

Ah, good question! I opened AND closed my first showcase, but friends said it wasn’t necessary to do both, or even either, lol. I do it now and then and I headlined one of the afternoon shows with my a cappella group. People liked it and said it was nice to see me doing my thing!

I totally agree with the vulnerability thing. It shows you can relate and I’m forever telling my students that it’s just as scary for me sometimes! Not hubristic at all, I think it’s nice as you are a performer as well as a teacher so it would be rude to yourself not to.

[Eliza Fyfe]

Mark’s right. Don’t book her in until payment is received! Although to be honest, don’t book her in regardless…! She sounds like a waste of time and will always have an excuse at the ready.

Dealing with something similar myself at the moment and not sure what to do (how many more chances can I give?!) she had a couple of false starts/cancellations (not late ones though) due to life’s mishaps, then she started asking for backing tracks without upfront payment (I only send further backing track resources once a month’s payment has been made) then she kept arriving with cash just for that lesson, or just cancelling in good time meaning that the slot was just left vacant if I didn’t get someone else in. I had a chat to her about it and how I need someone to be able to commit due to the nature of my business, etc etc, and she said she understood and was sorry for being so inconvenient, then made a promise to get stuck in as of last week. Sure enough, she paid for 4 lessons upfront and then turned up last week. But before starting, she said she wasn’t going to come to the next 3 lessons due to wanting to finish her dissertation first. I awkwardly accepted.. but said I couldn’t guarantee her the same slot as I need to fill it with someone regular.. but that I would do my best as she has now paid upfront. And the most hilarious part of this is that, after saying she understood why it’s inconvenient, kept saying “oh but I will practice, I’ll do all my warm ups and keep going over these songs daily” and I’m thinking… that’s really not the point?! It’s difficult as she is a nice person, so I’m not really sure what to do. I think if she cancels again I’ll just say she’s not ready to commit. It’s so annoying when they don’t actually owe but then they don’t stick to their arrangement.

Meanwhile, I have Dave who is on his last chance (!), for doing something very similar to the above. And he’s always full of long stories, long excuses, long explanations… and I’m there trying to get him off the phone because I don’t have the time to hear it… just get on with it, or don’t! He is also lovely and we get on so well… and the worst part is, he is self-employed too!!! I have even ironically been giving him advice about how to manage his business and have set hours, make sure people don’t take advantage… funny that!

It’s all very well dishing out the advice, but it seems I’m now being too soft..

Oh and Kat’s right about payment. I wouldn’t want to book someone in until this was sorted anyway – far too awkward having the money problem in the way of going forward!! But then would I want to book them anyway?

[Eliza Fyfe]

Well said everyone. I feel it’s a very British trait to not be upfront about the truth of wanting to stop, or are extremely apologetic when they do! But I completely understand if it’s the money, the lack of time to practice, or that maybe they’ve just had a sufficient amount of lessons to get where they wanted to… I don’t take offence in the way they think I do when they stop! I’m not expecting them to have lessons forever and am very grateful to those who have stuck with it for years! I love that I have about half who are solid and regular and the other half are changeable; it keeps things interesting and it’s good to be meeting new people all the time. It’s also nice when people stop and then come back which has happened a few times.

[Eliza Fyfe]

No, well said. I don’t tolerate any bad behaviour but that’s an interesting, positive angle to take! I do welcome the break sometimes and also agree that I’m glad to not have to work with people that don’t show up!

[Eliza Fyfe]

Apart from the first cash-in-hand lesson, I don’t accept anything less than 2 or 4 lessons paid for in advance, which covers a full month of weekly/fortnightly lessons. This shows commitment for at least a month of rent!!

Still doesn’t eliminate the risk of people cancelling all lessons forever, 48 hours’ before their next scheduled lesson, which they have a right to do. I don’t mind this though, as this still gives me enough time to rebook the slot (hence 48 hour rule) and then for the regular slot renewal, I just take someone off the waiting list, which can be quite quick too.

Ts&Cs are covered upon booking either face to face or by email. They are included in more detail on my invoice which they get after their first lesson, ready to start paying advance blocks of lessons.

I like the idea of 2 weeks notice for stopping lessons – I might try this. But to be honest, having monthly lessons paid for upfront sort of eliminates this anyway, as like you say, people know the system is monthly, so can tell me ahead of time.

This also brings me to the issue I keep hearing about – first lesson cancellations. What Matthew calls “bad debt”!

One solution might be to keep a “non teaching hours” slot free each week for people to piss you about in, so that you care a bit less.

[Eliza Fyfe]

Wow, that was all pretty perfect advice! Thanks!

[Eliza Fyfe]

Me too!

[Eliza Fyfe]

Great – that just about makes sense – thanks. Yes – Estill people love the tilt!

[Eliza Fyfe]

Also, I’m working on that exact thing (the flip) with a woman atm who is very belty but in a theatrical/diva way, and we are trying to introduce more twang which is working really well, but she hates how she still flips into head voice when going even higher! I have told her she can and should still allow this, but maybe make the sound more narrow and breathy so it doesn’t sound too “heady”. She’s doing Think by Aretha. Perhaps the cry would help here..?

[Eliza Fyfe]

Thanks Kat! Also, could you describe the difference between the cry sound, so tilting the larynx, and the pharyngeal sounds? Because tilting the larynx isn’t necessarily dropping it like a yawn, is it?

[Eliza Fyfe]

YES I love the nya!!! Great for twang.

What is (I am ashamed to ask) pharyngeal sound!?

[Eliza Fyfe]

Totally agree. Everyone is always so held back because they feel like singing lessons are about trying their hardest to not sound awful which is actually a completely negative way of looking at it! And you have to let yourself sound “awful” or silly as I say, in order to relax and let yourself actually have a chance to be corrected or just compare sounds:)

[Eliza Fyfe]

I agree Lily – this is one of the reasons I have my lessons back to back. The students can meet each other and also hear each other. Most of them don’t mind and it makes them more used to being heard and less shy of it!

[Eliza Fyfe]

Bang on!

[Eliza Fyfe]

Just to add to this further: a lot of my students aren’t practising (something I may start a discussion group about at some point – how to get your students to actually practice!!!) due to not feeling like they can really let go at home as they live in a house share or with partners or family. This really holds them back from actually moving forward! A lot of them practice in the car (much like myself) which still has its limits of course, as you’re not going to have 100% of your attention on the practising!

So my solution is to book a practice room. I did this for my own practice the other day, just me in a sound proof practice room. Even though I live on my own, and teach as loudly as I want in my flat, I still relate to that shy feeling of practising using all my power, as I know the neighbours can probably hear!

Booking that practice room was amazingly productive as I had to pay and therefore got the job done! I also felt so free and my confidence was improved with the songs I was doing. Winner!

[Eliza Fyfe]

I also talk about my own fears and my struggles with singing, so I can relate to the student and make them feel like they’re not alone and these feelings can still overwhelm us, even as professionals! With warm ups, sing with her as much as possible to begin with, and encourage the silliness! Make her laugh as this automatically relaxes most people.

[Eliza Fyfe]

Hi Wes,

I have had this exact same situation, twice in fact. Lots of “I can’t” and “I don’t know” and general negativity throughout the lesson!

The first case was with a highly anxious 14 year old. I tried everything… for 2 years.
By everything, I mean I was gentle, patient, went at her own pace… then I would try to push her a little… she sometimes responded well but other times the opposite. I tried the tough love… the counselling method… just chatting about her day. But nothing really worked in the end unfortunately. She had a beautiful voice but I think her illness got worse so she started to regress. This is probably an extreme example and there’s only so much a teacher can do until out of their depth where illness is concerned. My best advice is to keep in contact with the parents and make sure the student is always comfortable.

However, yours is 18 and therefore an adult. I also currently teach a 21 year old with a personality disorder. Lots of negativity and again, a stunning voice but keeps shying away from each challenge I give her! I try to just let her do what she’s comfortable with in order to build confidence, before jumping in at the deep end and getting her out of her comfort zone (like I do with most students!)

I would have a chat to her and find out her likes and dislikes and see how her life is in general?! Also get her to talk about what makes her feel passionate about music. Aware of course, that you can’t pry too much when it comes to the “life” stuff, but just be open about listening, saying she can confide in you and that she won’t be judged. This can lift a huge weight off a students shoulders (which can take time!) and she’ll learn to trust you, which should result in her being less afraid and more relaxed and able to set her voice free!

I am still in this up and down process so any further advice for my 21 year old would be great!

[Eliza Fyfe]

Such a coincidence that I opened up this thread just as I was on the phone to my business insurance renewing my policy!:)

[Eliza Fyfe]

Phil – this is the thing. Do I get her to just enjoy what she loves without progress (not my preferred option!) and sing a cappella which she loves, or pick something to actually develop her but she may have to deal with a song she wouldn’t normally choose. Obviously I want to go with the latter, and have done before. Tainted Love worked quite well for example. She rocked the Marilyn Manson version at a showcase to be fair! It’s just she’s not like any other student who is happy to just go with whatever all the time! It’s a lot harder for her.. and it’s like dealing with a small child sometimes.

[Eliza Fyfe]

OK thanks I’ll try it! She only seems to like big diva songs sung by females though!

[Eliza Fyfe]

OK – update on the above.

So she doesn’t read Braille, never got on with it apparently. She seems to find a lot of things quite challenging in general!!

So I got her to touch the speakers as the music was playing which she said she found helpful, although to be honest, I have now discovered the real issue. So, she can actually completely tap and count in time to a song and even hum the melody over it in time! Lyrics is actually what I’ve whittled the problem down to! If she forgets, she can’t pick it up again. She’ll throw herself off by adding a word, and therefore a beat, and then not even notice, until a few seconds later when she’s realised she’s totally lost. I had a “head-in-my-hands-in-dismay” moment yesterday when she asked, “why does it matter if I add a beat if it’s just me?” Then I had to explain to her for the millionth time that the point in doing it on her own is that she can keep to the timing when she goes back to the music..! (I am trying my hardest not to show my frustration!)

Anyway, she now has an mp3 of me speaking the words really clearly and slowly against a beat. But she still can’t seem to get her head round the words. We’re doing “I Will Survive” (understand that it’s a wordy song!) but she can’t even get to “kept thinking I could never live without you by my side” without her adding “kept thinking HOW I could never live without you by my side” and we were stuck on this for about 15 minutes because she just couldn’t stop adding the “how” or regressing and forgetting the entire thing because she would get flustered. And now and then she’ll not really understand why we’re doing any of this, so I spend a lot of time explaining things over and over. And thus it just takes the enjoyment out of it for both of us..

It’s a shame, but I’m persevering and trying to get her to learn bit by bit (tricky when she can’t pause the track and go back to where she was as she can’t see and this would definitely confuse her more!) so I’ve asked her to get her helper to find a way to help her learn the lyrics which I think she’s already doing. She basically just wants to get there straight away though, and will regularly interrupt the slow learning process, asking if she’ll ever be able to do the whole thing on stage or if she’s even any good.

It’s like she’s regressing as she did perform a song on stage with a backing track before, but I think she just happened to know that song really well!

Thinking I should give her an easier song… any further thoughts?

[Eliza Fyfe]

Thanks – have just asked her about Brail so will see what she says. And she did actually ask if I could read the lyrics out and clap the rhythm, so I’ll do that!

[Eliza Fyfe]

Thanks both for taking the time to read and giving detailed replies. Appreciate it!

@Kat
I love the touching the speaker idea. I will definitely try that next time! I have talked about counting the beats and talked about accents – ie. which syllable falls on the beat etc. but I probably need to go into more detail.

I have already tried association with lyrics and it just doesn’t seem to help. Actually everything you’ve said with lyric help I’ve tried!! I’ll keep at it though. It can’t be happening enough.

@Gael
Thanks for this, will download and try it out!

[Eliza Fyfe]

Wow Wes, just read this, that’s similar to the advice I just gave you about your 18 year old! I really think what you’ve said is bang on and applies to those with confidence issues too:)

[Eliza Fyfe]

I’m sure Ken Bozeman would be more professional and academic in a lecture than me.. Lol

[Eliza Fyfe]

I did go away and think about our body as a car and came up with this:

Diaphragm = engine
Larynx = gears (but probably should be steering wheel for pitch lol)
Mouth/tongue = Maybe this should be gears, like for different tones
Dynamics = accelerator
Eyes = indicator!
Radio = YOUR SINGING!!!

Any more?!

It’s silly fun really.

[Eliza Fyfe]

I do love a good fricative. Revving sounds! The diaphragm is the engine! The larynx is the gears. Pitch is the steering wheel! (Wow, I’m on a roll)

[Eliza Fyfe]

Oh god, I don’t get it.

[Eliza Fyfe]

And in answer to your question, I use fricatives.. but that’s more to get the balance and rhythm of breathing and connecting with the diaphragm.

[Eliza Fyfe]

And I LOVE that link! It’s pretty much what I just happened to be teaching at that moment as well! But explained better than I managed…

[Eliza Fyfe]

ERRRRRR I like it!!!!:)

[Eliza Fyfe]

I love vowels too! I find it’s all about lengthening them in singing and softening consonants which is what differentiates between singing and speaking.

I use A E I O U warm ups as well as “Ar”, “Ah”, “Eh”, “Ee”, “Oh”, “Oo”, alternating for each scale. I really know how to have fun in my lessons!!!

[Eliza Fyfe]

Excellent advice, Kat. I was going to add to that by saying, get the student to correct what I’m doing, but actually yours is better because they need to actually feel it themselves!

[Eliza Fyfe]

Mid-life crisis.

[Eliza Fyfe]

Well said Kat! The amount of times I’ve said “This is the place to make mistakes. Otherwise, why else would you be here? If there were no mistakes, I wouldn’t be of much help!”

When have they had doubts??

[Eliza Fyfe]

Great question! I am the harmony queen (!) and my students probably think I’m weirdly obsessed with getting them to chuck a harmony on to every bloody chorus they record in a song!

However, I could really do with finding out about harmony exercises! I should know this as a choir leader too… I have done some scales in harmony (e.g. I sing G-G and get the student to sing the 3rd above, then we swap) and teach a bit of theory… that’s it really!

[Eliza Fyfe]

Agreed about the number. Makes all the difference as it’s massively more personal!

[Eliza Fyfe]

Makes sense. Yes, school kids are more reliable as they have quite a bit of structure and routine implemented by the parents. Parents therefore appreciate this organisation and consistency as much as you do! They therefore tend to be more long-lasting, at the very least a term at a time.

Having said that, I have a handful of adults who’ve stuck at it for years now, although they tend to stop and start depending on their other hobbies or commitments, or changes with finances! It’s good if they come back:)

[Eliza Fyfe]

Nice topic.

I’m the same as you, mainly adults, but lots of teenagers too – 13 out of 31 actually! And the rest adults.

1. 8, but haven’t taught that young for a long time now. Would probably prefer 10 upwards, as this is what I’m used to and I can talk to them more like an adult from 10 onwards…!
2. I took on a 6 year old for a trial once and she cried. Clearly wasn’t ready and was pushed by the mum… which I’m very against… but hey, I might have just been really intimidating and she could now be with a teacher she doesn’t cry with…!! I also taught another 5 year old and 8 year old at the same time which really didn’t work. Obviously the older one was more focused than the other. But as they were brother and sister they kept distracting each other or messing around.

I’m not really a kids person and I find it far more straightforward to deal with fully formed humans that can keep still lol!

[Eliza Fyfe]

Just got around to watching this. Brilliant!!!

[Eliza Fyfe]

It’s what Goldilocks would have wanted.

[Eliza Fyfe]

Wailing/calling out is what I’ve been doing a lot of, but even a bit of twang to help with volume.

[Eliza Fyfe]

All good advice above – although I would tend to disagree with the add-on “make up for it” lesson or rearrangement in the same week. Surely you are still taking a loss by doing that?

[Eliza Fyfe]

All cancellations including illnesses should all be fully charged. No exceptions. This is your business; you lose out when you’re ill too. Also, rearranging is literally the same as a cancelled slot.

[Eliza Fyfe]

Bang on, Kat and Mark. I barely let people off if someone has died.

OK, maybe a little extreme. But the point is, that’s their business.

[Eliza Fyfe]

Great points Matthew. Bang on about increased innovation. My system, prices and policy is in correlation to the new ideas I’m putting forward all the time (at least I hope it is!)

@Sally – I have to say, if there’s competition in Brighton for teachers, I wouldn’t have thought a 1 week cancellation policy would encourage students to pick you over someone else! While I completely agree that you have to value yourself and others have to respect the business, this would completely put me off booking if I was the client. At the same time, you know your worth and I’m sure you’re better than all the others!! Good for you for being strict..! However, I would say YES make sure students realise this is your income, but it’s still a services business, which, whether we like it or not, IS something that has to be at least a little flexible.. it’s just finding the line, isn’t it!

Having said that Sally, you’ve actually given me an idea! So as I’ve mentioned before, this is what I have in place: Cash in hand for the first lesson, then block monthly payments in advance, with 48 hours’ cancellation policy for any lesson. But maybe I should do a 1 week notice cancellation policy for those that don’t want to refresh the block?

Thoughts?

Also, let’s elaborate more on putting ourselves in the student’s shoes, as Matthew suggests. I actually book lessons for myself with a vocal coach now and then. It’s funny – I am actually a total hypocrite, as I haven’t committed to a singing teacher before… but that’s because they haven’t minded me seeing them flexibly (quite bizarre that I’m using their skills to better myself and my teaching and with a better system in place than they have..!) but if they told me they had a policy that was the same as mine, I would totally respect this and be more than happy to pay for a month upfront because I know I would probably get a decent amount done in that time and it would probably be more beneficial than random lessons anyway! Then I would decide whether to do another month thereafter.

[Eliza Fyfe]

Well said, Kat. Was an interesting read though Lewis, makes me think I should write up an agreement a little more formally, although people seem to respect what’s already in place and has been for 3 years now. In fact, I do have the policy outlined in the invoice, but also most recently featured in a little more detail in my new Welcome Pack.. right at the end of the warm welcome! And it’s short and informal. With a little strictness of course.. here it is if it’s any help:

Cancellation Policy
I have a 48 hour cancellation policy in place for all booked lessons. Due to the nature of my business, it’s important that I keep to this rule in order to enable the smooth-running of the business. When students come on board, they are assigned a slot that is theirs every week/fortnight. Lessons are paid for upfront monthly, preferably by bank transfer.

Terms & Conditions
Payment must be made 48 hours before the start of the next batch of lessons. Cancellations and rescheduling must be made 48 hours in advance of the lesson, with no exception; otherwise the full price of the lesson has to be paid. This cancelled lesson will be deducted from one of your prepaid lessons. For any cancellations made by your teacher, that lesson would be carried over to the next scheduled appointment. In the case of a lesson being rescheduled by the teacher, which is then cancelled by the student, the 48 hour cancellation policy applies to the second rescheduled lesson.

[Eliza Fyfe]

Haha no I was talking about your above example email

[Eliza Fyfe]

So I meant in your email, does it go straight into payment policy like that? It’s good, straight to the point, but I’d imagine you’d talk about other benefits and things you offer, with payment details at the end? Just a thought

[Eliza Fyfe]

“When people who have lessons weekly are like, “Is it ok if we just postpone today’s lesson to next week?” And inside I’m like, it’s not called POSTPONING if you’re just cancelling a week!” OH MY GOD, YES. Sooo annoying!!! Haha

Nice one with the above. Ruth, I hope there’s stuff you say before that payment section?! It’s good though, straight to the point. I have my policy detailed in the invoice attached

[Eliza Fyfe]

Good for you, Kat. I am particularly loving the Welcome Pack idea! I think I will be stealing this as my 2016 resolution too!:)

[Eliza Fyfe]

@Dave – you are bang on and I live by this. It works and there are hardly any problems because everyone I teach respects this system and the fact that this is my job!

It’s like the endless debate of venues not paying musicians and treating them as if they’re doing them a favour giving them exposure etc. Why is a music teaching job any different to any other job? It drives me mad when you get people now and then who just don’t understand why they have to pay for a last minute cancelled lesson. I would rather not work with those people anyway, so it’s no loss to me, apart from the actual money lost, which I would rather pay to get rid of them anyway. People like that aren’t worth my time.

@Danny – of course there’s a human element yes (at risk of me sounding like a heartless robot above!) but that’s for those who you’ve got to know and already trust, or in the case of death or something…

[Eliza Fyfe]

Vouchers have to be booked within 28 days?! Goodness, mine are 3 months, and my Dad even thought that was too tight!! But actually, any meal voucher usually requires a month for you to book, come to think of it…

[Eliza Fyfe]

My 48 hour policy has never been a problem and people still pay full price if they are ill! You could always trial it?

[Eliza Fyfe]

3 no shows in a row?! Tell them to stop wasting your time and bugger off!!

[Eliza Fyfe]

I would like to add that you should never be shy of detailing the policy at the start. This is how you can gage how serious and committed the student is. And it’s your business after all, and most people understand and respect that:)

[Eliza Fyfe]

Due to a strict and clearly communicated system, I am rarely messed around. Sometimes you just can’t avoid the odd let down, which Matthew refers to as “bad debt” which you just write off and move on as you can’t exactly go to court for the sake of £30.

My system is: Upon booking a first lesson, I inform the student straight away that the first lesson is cash in hand and that 48 hours’ notice is required for cancellations. I also inform them that upfront monthly payments are required after their initial lesson if they’re happy to continue.

For first lessons though, there’s literally nothing you can do except trust them. I haven’t had a problem too often though, but if you need to cover yourself for those first lesson no-shows, I have a teacher that takes upfront paypal payment online even for first lessons, which also includes a £10 deposit.

[Eliza Fyfe]

Well, luckily I live alone. However, I never sing much as that’s also my workplace!

Yes I do the same!

[Eliza Fyfe]

I purposely practice my singing in the car, and literally nowhere else.

Happy 2016!

[Eliza Fyfe]

Totally agree about the recording, David. And I find that that can actually act as the one hand over the ear thing with the headphones.

[Eliza Fyfe]

The thing I find annoying and offensive is when people assume I have an easy life as I “only work between 4-8pm” as my teaching hours.

Let’s not forget that I also do all day Saturday and have at least 20 extra hours of managing the business!

[Eliza Fyfe]

Very true. I try and get mine to stop guessing, listen, take their time… as they get more flustered when they keep hitting it wrong, then rush to correct then it’s still wrong..!

[Eliza Fyfe]

Anyone used Erol Singers Studio yet? Sadly only for Apple users. But brilliant for tuning: https://itunes.apple.com/gb/app/erol-singers-studio-voice/id502780186?mt=8

[Eliza Fyfe]

Ah yes I get it! And your clip really helps. So a deep sounding “ahhh” with dropped jaw versus a more open (what I call dentist chair) “aaaah” sound where is appears to sound higher/brighter?

[Eliza Fyfe]

Things keep hitting you, Matt, are you okay?

Good stuff Matt, as always! Thought you would be the one to master this. So could you explain the vocal fry sound as I only understand it to be a low croak? So this student can make the note due to changing his lips and tongue? Sorry if I have misunderstood!

[Eliza Fyfe]

You know this very thing helped me only today. That along with more gentle warm ups, working on a more gentle crossover from chest to head voice. She is too loud and almost stops hearing the track or something. She really tuned in more when she was quieter, and as a result was more in tune! And with a bit of piano notes played in her headphones (she was recording today) and repeating back while looking at the notes – she nailed it!

[Eliza Fyfe]

Yes – I agree with everything you said and do this myself. It’s very difficult, and the truth is, both student and teacher have to work on this for months, sometimes years (if practice doesn’t happen daily!) with both parties remaining as patient as possible. I have also switched out-of-tune singers to piano so that they can connect to some basic interval theory and also it provides a visual guide for the movement of their voice. I hope that helps!

[Eliza Fyfe]

Good question: I always follow up a few days, or maybe a week after no response from initial communication. I personally don’t do it more than once, but I keep their email on the database so that they still receive my quarterly newsletter and remember that I exist:)

[Eliza Fyfe]

The diaphragm isn’t active during singing?! Oh my god. But that’s what I teach everyone, to feel the power from your belly… I can feel it right now as I sing!

The out-breath focus is brilliant and I’m now really into fricatives:) and yes I’ve seen this lovely gif already Matt, as I am now a bit of a Pocock Follower. What do you think you’ll name your fans?

[Eliza Fyfe]

I just shared this with my students and I thought I would post it here too, as I found it to be very relevant!

“For those of you that don’t already know, Gareth Malone is my idol. Hopefully you saw the inspiring and tear-jerking Christmas Number 1 by the NHS Choir. (If you haven’t, Youtube it right now!)

But something he did just before that was help those with breathing difficulties to sing. He brought together a group of 18 Americans, some of whom suffer with respiratory problems having been directly affected by 9/11.

This is an amazing story and the reason I’m sharing it with you is because singing basically ALWAYS comes down to confidence, no matter what physical or emotional barriers you have. Watch and be inspired

https://www.youtube.com/watch?v=aXp0jenlSvg&index=3&list=PL3WBa0emAbeLOhMB44FslIiz7pyVbhjEa

Full story here: http://www.philips.co.uk/a-w/innovationandyou/article/extended-story/breathless-choir.html?&origin=|mckv|slOnAh2BP_dc&pcrid=85954895814|plid|&trackid=”

[Eliza Fyfe]

Well said Monika!

Yes the lying down and breathing is what helped me learn how to sing from the right place!

[Eliza Fyfe]

Haha – well I just googled it, and I am pleased to present you the first hit on Google – Matt Pocock’s Voice Hacker!

He explains it a lot better than I do. Lip trills (or raspberries as he puts it!) are an excellent, easily accessible way to achieve this. Along with the “zz/vv” revving sounds.

http://singinglessons.london/breathing-for-singing-3-the-recoil-breath/

[Eliza Fyfe]

If it’s any help, I think the recoil bit is from the Vocal Process method which is what my vocal coach is trained in.

Woohoo, I am so glad we are on the same page. It’s a nightmare to explain. But yes, I have found lately that tonal changes with just things like mouth shape can be enough to affect the airflow naturally without actually trying to change foundation of breathing that we are born with. But as each student sings, I’m always saying “try this, now this, now a bit of this” till we get the thing that works! It’s just not black and white. Maybe they feel like I contradict them sometimes, but it’s just saying different things until the balance is right. I think I’m making sense. But it is 2am…

[Eliza Fyfe]

Wes – so true about swimming! I took swimming lessons a couple of years ago to learn how to swim underwater, breast stroke and front crawl, and it really improved my singing!

Kat – it’s not deep breathing that helps necessarily, it appears to be natural diaphragm recoil. This is what seems to have wowed me of late! A physical help yes.
I think that’s really interesting and true with the rest of what you said!! That’s why I’m changing my method. Teaching breathing means that focus can end up being too much on breathing, which inadvertently increases air in the student’s singing I’ve found! I tend to think, drawing on what you said about a chest sound feeling more supported, is that it’s the proportion of sound and air together… that’s the bottom line here… (at risk of stating the obvious?!) and the student just needs to find that balance!

[Eliza Fyfe]

Pretty much. I went from not teaching breathing (apart from quickly demonstrating not raising shoulders, making sure your stomach inflates! Again, same as every day breathing) to going into more detail recently with diaphragm recoil, as that’s what MY singing teacher has been doing with me and it’s really helped. I over-exert when I sing and subsequently run out of breath a lot.

[Eliza Fyfe]

Engaging with the diaphragm means connecting and getting the abdominal muscles working and getting your breathing in place, e.g. the natural diaphragm recoil when warming up and being aware of it in general singing.

[Eliza Fyfe]

Sign o’ the times.

[Eliza Fyfe]

The thing I’ve learnt about twang recently that has changed me, is the fact that the narrowing of the mouth helps the sound resonate better so that you can actually project with little effort. Amazing!

[Eliza Fyfe]

I’d like to add “what even is twang” to this little vocal adventure! As well as “metal” which is a word some teachers use which doesn’t sit well with me.

[Eliza Fyfe]

I use Gumtree a lot for general advertising that isn’t Matthew’s website. It can be a bit hit and miss with some people though and I don’t know whether the success of this site varies from city to city? I know it’s popular for literally everything in Bristol. When I wanted to move here, I got my flat, job, furniture, musicians and students from Gumtree. Sorted!

[Eliza Fyfe]

Hey Beckie

– Open mics are great as long as they are not too intimidating – the one I take students to is in the downstairs area of a bar so that the general public aren’t walking straight into a performance! It’s also a fairly new open mic and therefore nice and quiet. Try and bring other students so she doesn’t feel like the only student and it should hopefully ease her nerves. Or even duet with her so she can relax into it!
– Good idea about covers on the iPod, as long as the venue don’t mind it not being a real instrument! The above place I take my students too are cool with backing tracks
– Good idea at this age to be active with competitions if there aren’t many pubs she can go to!

In addition to this, have you thought about hosting Student Showcases? I run these seasonally, so every quarter there’s one to prepare the students for! It’s a great way to keep regular clients too

Also, this may be controversial, but as I have all my lessons back-to-back, I encourage the students to perform to each other, so one student will perform/play a recording of where they’ve got to in the lesson to the next person waiting to start their lesson. Usually they know the person which helps, as my students have the same slots so always meet each other which is nice!

Hope this helps!

[Eliza Fyfe]

Saying about NOT teaching breathing actually sounds really interesting.. Because actually, we shouldn’t need to teach it!

[Eliza Fyfe]

I haven’t finished it to be honest. I’m not a big reader. Or even a small one. But the first few chapters and I was sold – it just made sense to me! I love how he compared with the speaking voice and detailed expression and tone. Looking forward to reading the rest! What are your thoughts? He does seem to name drop an awful lot… and actually seems to have a rather annoying voice himself, which surprised me!

[Eliza Fyfe]

Set Your Voice Free – Roger Love

[Eliza Fyfe]

Well said, thanks!

[Eliza Fyfe]

Thanks Beckie – a good tip that I need to re-use! And thanks Kat – good idea about the speaking voice. So if she’s a high singer and just needs to initially enjoy a relaxed, natural, head voice sound, should I put Hallelujah in A for example? Or change the song so that it doesn’t bore her?! Any good song suggestions for her, with the descending melody idea? I definitely thought Rolling In The Deep was an error on my part as it’s too big and she needs something less ballsy to begin with! And no dopey sounds, okay noted. Thanks!

Matt – thanks! Great to hear that it’s not a bad start and I now have techniques I can build on so that’s great!

Thanks for all your help all – I shall keep you posted!

[Eliza Fyfe]

Good idea. You have to pay for mistakes, that’s just part of business growth. Then learn and improve so you don’t have to pay again!

[Eliza Fyfe]

Tricky. So with vouchers, I have an expiry date on mine, so if they don’t book before that time, they lose the money..

[Eliza Fyfe]

It’s happened now, it was yesterday, and it went very well! Thanks for your help everyone!

[Eliza Fyfe]

Thanks for this – they loved the vowel tree!

[Eliza Fyfe]

Was just going to jokingly ask for confirmation

[Eliza Fyfe]

Unless you meant this of course: https://www.youtube.com/watch?v=jgkJmzNm0gQ

youtube.com

Vowel Tree Song | vowel sounds only - Montessori style

A short, simple song that will teach kids their vowel sounds. Buy mp3, hd video, interactive poster and worksheet:http://www.teachersnotebook.com/product/mrs...

[Eliza Fyfe]

I LOVE IT.

[Eliza Fyfe]

https://www.youtube.com/watch?v=khcOefeW23c – this?

[Eliza Fyfe]

Great, thanks for this Kate. Do you think the content is enough? TBH it might even end up being too much. It’s getting enough fun group work in…!

[Eliza Fyfe]

Agree with Kat – I do quarterly showcases and always get them focussing on a new song ready to record all properly! I have had students with me for 2-3 years due to changing things up enough to keep them interested, so this is always good! Especially as I’m refreshing my own knowledge as time goes on, so they get a piece of that too! Matt’s following up tip is good too.

[Eliza Fyfe]

I have started doing these:

– 3 gentle pulses on “zz”, or “vv” – focus on the natural diaphragm recoil in the breathing gaps between pulses. No massive breaths (unnecessary air) needed. Take air into belly
– Octave slides: “zz”, “singggg” and “ee”, ensuring they are smooth and even, with the sound really resonating in the nose/mouth area, gently driving the pressure from the diaphragm. Enables more volume without straining or over-exerting
– “Na/nya’s” in the mid-range plus a few “yeah’s, hey’s and oi’s” to open up the range and relax the muscles into the natural calling out

Inspired by Vocal Process!

[Eliza Fyfe]

Thanks all. I’m anatomically challenged but thankfully with help at hand!